Circle Map

 
 

Check the up-to-date version of this page at www.saariaho.org/CircleMap-electronics.html

For general technical notes go to www.saariaho.org/Electronics-general-notes.html

For solutions to common problems go to www.saariaho.org/Electronics-common-solutions.html

General information

The electronics for this piece can be run with a Max patch that plays the pre-recorded sounds and includes general reverberation.

An additional musician is required to trigger the cues in the score. They should do this from a position within the orchestra using a MIDI keyboard (or directly on the computer at the mixing desk).

In both rehearsal and performance the sound engineer/musician should read the score and adjust the relative levels of the orchestra and electronics on the mixing desk, according to the given context (musical interpretation, equipment, acoustics of the performance space).

Downloads

IMPORTANT: in recent MacOS versions, there is a known issue when downloading

Max standalones through browsers (such as Safari, etc.)

Before to download, one needs first to go to ‘System Preferences/Security & Confidentiality/General’

and check ‘Authorize the applications downloaded from: anywhere’.

If you do not do it, the system will display a misleading message saying that the ‘file is damaged’.

You just need to change the security parameters as described above, then restart the standalone.


latest patch version

sound files

Technical requirements

  1. -Macintosh computer equipped with an external audio interface allowing 12 output channels, compatible with Max (cf: www.cycling74.com), e.g. Motu: www.motu.com, Digidesign: www.digidesign.com, RME: www.rme-audio.com

  2. -MIDI controller keyboard (5 octaves) to trigger cues from the computer

  3. -MIDI interface to connect the MIDI keyboard to the computer

  4. -Microphones (number depending on the performance space) to get a global image of the orchestra, premixed to be sent to input 1 of the audio interface

  5. -Mixer, frontal quadraphonic (at the four corners of the stage frame) & stereo cluster diffusion (plus return monitors for the conductor and the musician triggering the cues)


Performance notes

The amount of amplification required naturally depends on the concert space, but it should never cover the acoustic sound of the orchestra.
The general level should be rather loud, but not painfully so.